배우로서의 인형

Abstract

Over a long history, despite the familiarity with people, puppets have been recognized as inferior and minor field within Korean art and study, however, recently there have been researches on puppets throughout a variety of branch, such as folklore, medicine, art and therapy. Puppet is used as a crucial method of expression within a play and there have been increasing attempts of crossover between boundaries of play and puppet play. Hence, researches on puppet, which is used as a dramatic element in plays, are needed. Puppet is motionless, passive and lifeless object, but an actor vitalizes it. Puppet, performing as an actor, goes through a ‘process of being made alive’ by a puppeteer and transfers into an ‘another actor’ with different charms to the human. This paper is about the puppet that gains a life from a puppet master, then reveals itself as an actor on the stage. In order to operate a puppet, actors need to understand anatomy and weight shift, natural law of life and death, and respiration and gestures of puppeteer himself. This research discusses about puppets, which can be expressed in a variety of ways within modern plays unlike human beings, in terms of ‘procedure of being made alive’ and ‘movements of puppets’. Moreover, it will also range over the relationship between puppeteer and puppet, especially about respiration and gestures, and a frequent transition between subject and object. Since this research focuses on puppeteer, it also has a significance of contributing to education of acting.